Film Camera History

Photographic film is a sheet of plastic (polyester, nitrocellulose or cellulose acetate) coated with an emulsion containing light-sensitive silver halide salts (bonded by gelatin) with variable crystal sizes that determine the sensitivity, contrast and resolution of the film.

Lights, Camera, History: Portraying the Past in Film (Walter Prescott Webb Memorial Lectures, published for the University of Texas at)

This important volume addresses a number of central topics concerning how history is depicted in film. In the preface, the volume editors emphasize the importance of using film in teaching history: students will see historical films, and if they are not taught critical viewing, they will be inclined simply to accept what they see as fact. Authors of the individual chapters then explore the portrayal of history--and the uses of history--in specific films and film genres.Robert Rosenstone's "In Praise of the Biopic" considers such films as Reds, They Died with Their Boots On, Little Big Man, Seabiscuit, Cinderella Man, and The Grapes of Wrath. In his chapter, Geoff Pingree focuses on the big questions posed in Jay Rosenblatt's 1998 film Human Remains. Richard Francaviglia's chapter on films about the Middle East is especially timely in the post-9/11 world. One chapter, by Daniel A. Nathan, Peter Berg, and Erin Klemyk, is devoted to a single film: Martin Scorsese's urban history The Gangs of New York, which the authors see as a way of exploring complex themes of the immigrant experience. Finally, Robert Brent Toplin addresses the paradox of using an art form (film) to present history. Among other themes, he considers the impact of Patton and Platoon on military decisions and interpretations, and of Birth of a Nation and Glory on race relations.The cumulative effect is to increase the reader's understanding of the medium of film in portraying history and to stimulate the imagination as to how it can and how it should not be used. Students and teachers of history and cinema will benefit deeply from this informative and thoughtful discussion.

88% (12)

Argus C-3 35mm film camera, 1939 - 1966

An Argus C-3 35mm film camera (and leather case) with built-in "range finder" to assist in focusing (the cogged gear wheels on the face of the camera) and an exposure counter wheel on the top. The lever knob on the face of the camera "cocked" the shutter by winding up its spring. The Argus C3 was a low-priced rangefinder camera mass-produced from 1939 to 1966 by Argus in Ann Arbor, Michigan, USA. The camera was the best-selling 35mm camera in the world for nearly three decades, and helped popularize the 35mm format. Due to its shape, size, and weight, it is commonly referred to as "The Brick" by photographers.

This one was given to my mother after I moved away to college and given to me by her some 30 years later for my collection.

Canon EOS IX APS Camera - 1996

The top of the line of what was available for the APS film format back in the day. The EF 24-85mm f/3.5-4.5 USM lens this example came with is compatible with my EOS 35's and even the latest Canon DSLRS, too. Way to go, Canon.

Camera has Canon's amazing Eye Control feature that let's you focus the camera simply by looking at your subject! Why haven't they ported this over to the DSLR crowd? So cool.

Real metal body parts gives you a solid feel in the hands. Drop in your APS film and out you go. Too bad this format died. With quality film cameras like this, it should have taken off. This is what I hoped digital cameras would have grown up to be like; all about the lens in front and not fiddling with dials and tiny TVs in the back. Learn from history, people.

film camera history

Originally published in 1988, The "I" of the Camera has become a classic in the literature of film. This second edition includes fourteen new essays, as well as a new foreword. Offering alternatives to the viewing and criticism of film, William Rothman challenges readers to think about film in adventurous ways that are more open to our experience of movies. In explaining the "American" quality of American film, Rothman argues compellingly that movies have inherited the philosophical perspective of American transcendentalism. First Edition Hb (1988): 0-521-36048-X First Edition Pb (1988): 0-521-36828-6